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A review by greatgodbird
Musical Identities by Raymond MacDonald
3.0
Generally good, with a strong mix of engaging insights.
There were plenty of references that I will now follow up, including within topics of entity vs incremental and intrinsic vs extrinsic theories, and especially in the areas of self-ness and musical expression in disability, youth music, and national and cultural music identification. I am particularly looking forward to looking more into distinctions between identity-in-music, and identity-as-music.
There was also clear and striking evidence for belonging and Other-/Same-ness exercised and perpetuated by musical activity across broad demographics, even if the core studies remained soundly within the territory of predominantly white music cultures, religion, and education. As examples, only fleeting references were made to Indian language and aesthetic intradiversity, Black rap cultures, and racial tension and apartheid in South Africa, and these generally did not play any role in ensuing discussions of how musical ownership contributes to identities in contexts of national, ethnic, and cultural identity.
Altogether, the authors in this book presented a well-written if perhaps contextually a bit insular view on identity formed by and through music.
There were plenty of references that I will now follow up, including within topics of entity vs incremental and intrinsic vs extrinsic theories, and especially in the areas of self-ness and musical expression in disability, youth music, and national and cultural music identification. I am particularly looking forward to looking more into distinctions between identity-in-music, and identity-as-music.
There was also clear and striking evidence for belonging and Other-/Same-ness exercised and perpetuated by musical activity across broad demographics, even if the core studies remained soundly within the territory of predominantly white music cultures, religion, and education. As examples, only fleeting references were made to Indian language and aesthetic intradiversity, Black rap cultures, and racial tension and apartheid in South Africa, and these generally did not play any role in ensuing discussions of how musical ownership contributes to identities in contexts of national, ethnic, and cultural identity.
Altogether, the authors in this book presented a well-written if perhaps contextually a bit insular view on identity formed by and through music.